Frank, check your email -- sent you a Google doc.

By the way, all, I'm still editing the doc.  Feel free to do so yourselves.  Most of that is Rick's work which I'm editing for brevity and adding some of my own touches.  But it's a shareable, editable doc.  I'm out most of the day today (Labor Day here in the U.S., so I'm going to play golf in 100 degree heat!) but will edit more tonight.

Jordan, get me your email address and I'll forward to you as well.

Gary

That wall of text above looks a bit intimidating.

Chopping it down to encourage responses:

1, Massive crash caused by Fog. These crashes are happening all over the city/country.
2. Jane, our Police Officer, and her Partner rescue people and take them to the nearby hospital on foot with the help of passers-by and block off the road with their police car to prevent further accidents.
3. They are called to the local Pub to help break up a situation, which they do successfully.
4. In the Pub, Jane discovers that her son is missing.


So, current situation:

Lots of  horrific crashes. Too many for the Emergency services to cope with.
Large number of people phoning the Police as they are trapped in the Fog, or worried about missing relatives.
First, very slight intimations that the fog has psychological effects. Very slight/realistic.
Her own son is missing in the fog.

I'm proceeding under the assumption that the Traffic situation is being dealt with by the Police Force largely off screen. We'll get updates on it on the TV from the Pub, and through Jane's conversations with Dispatch/her superiors and we'll see the results of those conversations on the streets around us.

This frees her to search for her son, and other people lost along the way.

She will keep in touch with Dispatch and/or her husband on the Phone allowing her to describe the situation, and to link back to the Pub.

The search for the missing son will lead into some other story. Probably to do with rising crime or some killer on the loose in the fog.


Looking at what we have I am of the  opinion that, once the beats we've got are expanded we've already got Episode One and more.

I'm thinking the best use of the next week is to slowly fill in what we have and end the week with a Pilot episode. We can then read it, improve it and perfect the style.

I regard hitting that point to be a successful challenge. After that we can talk about taking it forwards for those that are interested.

Does that seem sensible?

Quoted from Scar Tissue Films That wall of text above looks a bit intimidating. Chopping it down to encourage responses: 1, Massive crash caused by Fog. These crashes are happening all over the city/country. 2. Jane, our Police Officer, and her Partner rescue people and take them to the nearby hospital on foot with the help of passers-by and block off the road with their police car to prevent further accidents. 3. They are called to the local Pub to help break up a situation, which they do successfully. 4. In the Pub, Jane discovers that her son is missing. So, current situation: Lots of  horrific crashes. Too many for the Emergency services to cope with. Large number of people phoning the Police as they are trapped in the Fog, or worried about missing relatives. First, very slight intimations that the fog has psychological effects. Very slight/realistic. Her own son is missing in the fog. I'm proceeding under the assumption that the Traffic situation is being dealt with by the Police Force largely off screen. We'll get updates on it on the TV from the Pub, and through Jane's conversations with Dispatch/her superiors and we'll see the results of those conversations on the streets around us. This frees her to search for her son, and other people lost along the way. She will keep in touch with Dispatch and/or her husband on the Phone allowing her to describe the situation, and to link back to the Pub. The search for the missing son will lead into some other story. Probably to do with rising crime or some killer on the loose in the fog. Looking at what we have I am of the  opinion that, once the beats we've got are expanded we've already got Episode One and more. I'm thinking the best use of the next week is to slowly fill in what we have and end the week with a Pilot episode. We can then read it, improve it and perfect the style. I regard hitting that point to be a successful challenge. After that we can talk about taking it forwards for those that are interested. Does that seem sensible?

All sounds good to me.

Let me know if there is anything specific you'd like me to handle, be that further character development or creating some action/ suspense sequences. Like I said, you've got me until the 8th, then I gotta get a draft of my feature finished. I'll still try to help you out during that week, but the next 7 days are when I will be able to contribute most.

Quoted from Scar Tissue Films That wall of text above looks a bit intimidating.

It's supposed to be. We will trim it down later.

Quoted from Scar Tissue Films So, current situation: Lots of  horrific crashes. Too many for the Emergency services to cope with. Large number of people phoning the Police as they are trapped in the Fog, or worried about missing relatives.

The phone lines should be busy when they try to call for help. I like the idea of a football/soccer game being canceled due to fog. The game can be in London or somewhere far away to show that the fog is global.

Quoted from Scar Tissue Films I'm thinking the best use of the next week is to slowly fill in what we have and end the week with a Pilot episode. We can then read it, improve it and perfect the style. I regard hitting that point to be a successful challenge. After that we can talk about taking it forwards for those that are interested. Does that seem sensible?

Perfectly sensible

The beauty of this challenge is that we can write what we want following the outline established by Rick, but ultimately it's Rick's call on what comes out of the mouths of the voice actors.

I feel a lot less pressure to make everything perfect in my head before submitting it.
I'm going to do my best to create something that I'm proud of, but I know it'll change.

I don't speak Davyhulmeian lingo, so any dialogue I write will be with a Southern Californian accent.
Please feel free to remove any "dude"s, or "totally"s, or putting the word "the" in front of any freeway.

-Jordan

@Frank There are many insanely talented voice actors out there. The success of the podcast will rely on the quality of the voice talent, and of course the foley, sound mixing, editing...

Of course, that's all out of our hands. We can only focus on delivering material worthy of great talent.

@Gary nice job putting that doc together and getting it out to us. I was wondering if a discord or something might be productive but I like the google doc approach. As long as we don't go down two separate paths with some people working on stuff posted here and others working on the doc, we should be more efficient.

Episode 1 is nearing fruition. We need to know where it's going now.

What are each character's arcs through season one, if they arc?
What topic or theme are the next episodes going to tackle?
What is the fog going to do in the next few episodes?
What other weather might happen in season one?
How are other nations being affected, and when?

I had a thought that maybe this should be set in December, so events are leading up to Christmas. More stress early on, more worry, busier time of year for travel, cold getting colder, religious time of year, and the audience would feel it. That Christmas episode could be particularly bleak.

Quoted from Nomad The phone lines should be busy when they try to call for help. I like the idea of a football/soccer game being canceled due to fog. The game can be in London or somewhere far away to show that the fog is global.

I think there should be a football game on in the bar from the start and they have to call it due to fog. It's hard to use music in podcasts unless we want to pay for the rights, but a sports event can be made up pretty easily and would explain why there isn't any music on in the bar. After that, it's news or nothing as everyone's attention is on the situation, not enjoying music.

Yes, I think there's mention of a sports game on TV in the mass blurb.

It's what makes them realise it's widespread and makes them put the news on.

Quoted from Zack Let me know if there is anything specific you'd like me to handle, be that further character development or creating some action/ suspense sequences. Like I said, you've got me until the 8th, then I gotta get a draft of my feature finished. I'll still try to help you out during that week, but the next 7 days are when I will be able to contribute most.

You can start at the beginning if you like and have a go at the accident scene which kicks it all off. It's probably the most challenging bit, trying to convey the sense of what's happening.

The vague logistics are that people are driving near the pub, including Kim and George. A car is making a right turn (we drive on the left here)  as the fog suddenly rolls in. A bus ploughs in to the car, probably flipping in and pinning it under the bus. Then other cars pile into the back from both directions, and other cars into the back of them, including George and Kim.

There's no need to describe all that, of course... Jane can explain that to Dispatch on arrival. You want to try to get the sense of the mayhem, fear, pain and disorientation of the crash. The numerous voices calling for help, screams and just enough information that the audience understands roughly what's happening.

Quoted from ReneC @Frank There are many insanely talented voice actors out there. The success of the podcast will rely on the quality of the voice talent, and of course the foley, sound mixing, editing... Of course, that's all out of our hands. We can only focus on delivering material worthy of great talent. @Gary nice job putting that doc together and getting it out to us. I was wondering if a discord or something might be productive but I like the google doc approach. As long as we don't go down two separate paths with some people working on stuff posted here and others working on the doc, we should be more efficient. Episode 1 is nearing fruition. We need to know where it's going now. What are each character's arcs through season one, if they arc? What topic or theme are the next episodes going to tackle? What is the fog going to do in the next few episodes? What other weather might happen in season one? How are other nations being affected, and when? I had a thought that maybe this should be set in December, so events are leading up to Christmas. More stress early on, more worry, busier time of year for travel, cold getting colder, religious time of year, and the audience would feel it. That Christmas episode could be particularly bleak.

Good questions. I'll throw some ideas out tomorrow.

Quoted from Scar Tissue Films To Zack: You can start at the beginning if you like and have a go at the accident scene which kicks it all off. It's probably the most challenging bit, trying to convey the sense of what's happening. The vague logistics are that people are driving near the pub, including Kim and George. A car is making a right turn (we drive on the left here)  as the fog suddenly rolls in. A bus ploughs in to the car, probably flipping in and pinning it under the bus. Then other cars pile into the back from both directions, and other cars into the back of them, including George and Kim. There's no need to describe all that, of course... Jane can explain that to Dispatch on arrival. You want to try to get the sense of the mayhem, fear, pain and disorientation of the crash. The numerous voices calling for help, screams and just enough information that the audience understands roughly what's happening.

Zack, if you like, get started on the opening, then shoot it over to me. I'll have a go too and then we can pool our efforts, add colloquialisms, tone, atmos, etc.

What do you think?
I'll PM you my email.

Actually, Gazza, a thought that you might want to include everyone's email in that Google doc.

Rick, working on the Pilot ep sounds like a great idea.

Quoted from LC Zack, if you like, get started on the opening, then shoot it over to me. I'll have a go too and then we can pool our efforts, add colloquialisms, tone, atmos, etc. What do you think? I'll PM you my email. Actually, Gazza, a thought that you might want to include everyone's email in that Google doc. Rick, working on the Pilot ep sounds like a great idea.

Alright, I'll see what I can do for the opening sequence.

Have we settled on wether or not a narrator will be a part of this?

I think the narrator should be used, but sparingly. Do as much as you can without, which should be the vast majority. Describe through dialogue, use exposition, and when you can't avoid it use a narrator.

I'd also use a narrator to first describe the fog. Make it dramatic. Channel your inner H.G.Wells.

That's my view anyway.

Quoted from ReneC I think the narrator should be used, but sparingly. Do as much as you can without, which should be the vast majority. Describe through dialogue, use exposition, and when you can't avoid it use a narrator. I'd also use a narrator to first describe the fog. Make it dramatic. Channel your inner H.G.Wells. That's my view anyway.

Thinking I'll open with a brief narration before diving into Jane and Peter responding to the pile up. Just really not sure how I'm supposed to write this when it's audio only. Gonna think on this tonight, see what I can come up with.

Well, you have my help, so just dive in, Zack - I will too - and then like I said we can pool efforts and perfect, then put it up for scrutiny from others partaking. Whatcha reckon?

P.S. PM'd you my email @.